Interviews

Jamie Dornan

Actor The Tourist

WS: What appealed to you about the script and the concept of The Tourist? DORNAN: It was kind of peculiar in the best way. It had me questioning lots of different aspects of what was going on. Whenever I felt comfortable with it, it changed in the best way. I loved the way it was playing with tone and structure. And I thought it was really funny. It was an interesting blend of darkness and humor. And I had kept an eye on what Two Brothers Pictures had been doing in recent years. They’ve had their fingers in a lot of very tasty pies, and I do think they have a unique voice within television in the U.K. It was a departure from the things I’d done recently. And I had an eye on doing something in television because it had been a while for me. So I was intrigued by it all, particularly when I met Chris Sweeney. I had loved Back to Life. I think it’s one of the best things BBC has put out in years. The combination of all those things was pretty alluring to me.

WS: How do you go about preparing to play a character like The Man? DORNAN: It’s a difficult one! [Laughs] I’ve played characters before that have lost their memory. I’ve dealt with what that is, the trauma of that, and the panic. Not that I don’t have to plug back into what that is, but I have dug around in that area before. The backstory was being written for me, and then I was able to add to that from everything we don’t hear about pre what [Harry and Jack Williams] put in the script, as we reveal and discover as the series goes on. There’s so much of that confusion and dismay and horror of what he was finding out. I wanted it to feel as much as possible like he was finding it out for the first time. A lot of it is trying to have an understanding of where you think his origins were, what his backstory is, but also trying to forget it! [Laughs] I’m trying not to know too much because the sincerity of that news is impactful for him. Luckily, it was so cleverly written on the page. Trying to play each beat with total conviction and sincerity— you’re not trying to let the audience think that maybe he’s trying to hide something. We’re trying to keep it at: This is news to him; he is on this journey with you. If we lost that, it wouldn’t work.

Joanne Froggatt

Actor Angela Black

WS: What appealed to you about Angela Black? FROGGATT: I’d worked with Jack and Harry [Williams] before. They were the writers on a show called Liar, and I’d had a wonderful experience working with them. They contacted me and said they had written Angela Black and would I look at the role of Angela and see if I wanted to play her. They sent me the first three episodes, and I just sat and read all three episodes back-to-back. I couldn’t put them down. It was a no-brainer. I can’t not play this role; this is incredible. Also, they write thrillers so brilliantly, and this is a subtle-to-start-with, Hitchcock-style thriller that shifts and twists and turns, and I had no idea what was going to happen or where this character was going to be taken. There is also important subject matter running as a through-note, which is incredibly important to me to be talking about, especially after the world had been through one lockdown. We were going through lockdown by the time I read the script. The issue of domestic abuse had become so much more prevalent because everyone was [staying] in their homes. Jack and Harry wrote this script before Covid was a word on any of our lips, but, by chance, it was incredibly timely.

WS: What research did you do to prepare for the role? FROGGATT: I did a lot of research. I read three books: You Can’t Run by Mandy Thomas, Beautiful by Katie Piper and Brutally Honest by Melanie Brown. All incredibly different scenarios and circumstances of domestic abuse, whether psychological or physical. All three women give incredibly honest and candid accounts of their experiences, emotionally and physically. Those accounts stuck with me. There wasn’t a day that went by on set that I didn’t think about all or one of those women. Women’s Aid is a British charity that helps and supports victims of domestic abuse, and they were very involved with our show from the beginning. They advised Jack and Harry during the writing process. When I came on board, they were incredibly helpful in pointing me in the direction of research material. I spoke to some of their counselors as well. I watched a lot of documentaries. I did immerse myself as much as possible to build a psychological profile of Angela and her scenario and make her as nuanced and real as possible. And make sense of what emotions she is feeling, when and why.

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Dick Wolf

Creator Law & Order, Chicago, FBI Franchises

WS: As a storyteller, what has continued to appeal to you about procedurals and self-contained episodes? WOLF: Procedurals and self-contained episodes have a start and a finish. They are complete stories. Viewers can come and go as they please and not miss serialized stories. And these episodes play very well globally.

WS: What was the strategy and creative process in crafting Law & Order: Organized Crime, besides, of course, the return of Christopher Meloni as Elliot Stabler? WOLF: I saw Organized Crime first as a vehicle for Detective Stabler, with story arcs that reflect the most dangerous and scintillating crimes of this genre. The first season showed the inner workings of a modern-day Mafia kingpin.

WS: When you created Chicago Fire, did you already have in mind Chicago P.D. and Chicago Med? How did you develop the Chicago franchise? What is unique about it? WOLF: When we were shooting the Chicago Fire pilot in 2012, I was standing on a bridge over the Chicago River with [Wolf Entertainment’s president and] COO, Peter Jankowski. We were looking at the beautiful city, and I said, I can see spin-offs—police, medical, the sky is the limit. We have basically created Dickensian London with the Chicago shows. The characters are interchangeable, and you’ll never know when or where one will turn up.

WS: How did you develop the FBI franchise? WOLF: Growing up, my uncle was an FBI agent, so I have always had a fascination with the Bureau. It was always something I wanted to do, and with CBS’s blessing, we have a very successful brand.

WS: What is the enduring appeal to worldwide audiences of crime and medical dramas and, in particular, of Dick Wolf crime and medical dramas? WOLF: Viewers have always been fascinated by real-life crime and medical stories. We dramatize them but try to keep them as realistic as possible. I cannot say enough about the writers on all my shows, how important it is for good storytelling. And the writers do just that. It starts on the page.

Julian Fellowes

Creator, Writer & Executive Producer Downton Abbey, The Gilded Age

WS: What did you want to explore in The Gilded Age? This idea came to you quite some time ago, didn’t it? FELLOWES: Yes, it came just as an interest, in fact. I read a book about Alva Vanderbilt and her daughter, Consuelo, who was one of the more famous of the “dollar princesses.” I started to read about this period, and I realized, as always with history, that I had been walking past the houses of these people ever since I first went to America a half-century ago and never really taken them in. I started to read about the Goulds and Carnegies and Fricks and the double side of the Gilded Age, the ruthless robber barons and their palaces. Then I got interested in the Vanderbilt family. For a time, I toyed with the idea of doing a series about them. I half sold it to Bob Greenblatt when he was at Showtime. I found my difficulty was that, when dealing with real people, I have an obligation to write about what really happened and make them say things they really would have said. This is quite limiting. So I gradually came to think—and obviously talked to Bob about it—that if we were going to do a television series about the Gilded Age, we would do better with fictional families living through very possibly truthful events that happened during the Gilded Age.

WS: What can you reveal about the upcoming movie Downton Abbey: A New Era? FELLOWES: I’m not allowed to reveal all that much! But I can reveal that there are essentially two principal stories and lots of little stories in the Downton movie. One principal story is that a group of them go to the south of France to this wonderful villa. That was pretty good fun for the members of the cast. Right up to the end [we were wondering where we would be able to do it] because of travel restrictions. And [venues] were changing from day to day because suddenly there would be a Covid outbreak, and everything would be canceled. In the end, we were able to do it, and that was great. The other story is of a film being made at Downton, toward the end of the silent era. The servants and Mary are more involved in the film, but a lot of the other family members are involved in the south of France.

Thomas Rabe

CEO RTL Group

WS: How are you investing in RTL+ and Videoland to serve subscribers even better? RABE: We are very pleased about the increase in subscribers to RTL+ and Videoland. To further boost the growth of all our streaming services, we invest heavily in technology, marketing and content. In the first half of 2022, we will expand RTL+ to a cross-media entertainment service comprising video, music, podcasts, audiobooks and e-magazines. We will create Germany’s first cross-media champion, offering our audiences the most diverse spectrum of high-quality entertainment and independent information. The new RTL+ will use state-of-the-art technology with a high level of personalization and content recommendations based on artificial intelligence and editorial inputs for a true cross-media user experience.

As a result of the rapid growth of our streaming services and the planned cross-media expansion of RTL+, we have significantly raised our streaming targets. Compared to 2021, we will triple the annual content investments to around €600 million by 2026. We aim to grow the number of paying subscribers for RTL+ and Videoland to 10 million by the end of 2026 in order to grow our streaming revenue to €1 billion and to reach profitability of the two services by 2026.

WS: What can you tell us about the decision to merge M6 with TF1? RABE: Since the summer of 2020, we expressed our conviction that alliances and larger merger moves—and thus the creation of national TV champions in Europe—are necessary. With this, we called on the regulators to be supportive. Given the ever-growing competition with U.S. platforms such as Google, Amazon or Netflix, our answer is to scale up our broadcasting businesses. Scaling up can take many forms, from alliances, partnerships and acquisitions to larger incountry consolidation. In bigger markets, in-country consolidation would generate significant synergies, which we could partly re-invest in expanding our streaming services. Today, we are leading the consolidation of the European media industry. With full-year revenue of more than €3.4 billion, the merged company would be the fourth-largest European broadcasting group.

Gilles Pélisson

Chairman & CEO TF1 Group

WS: Tell us about establishing a oneon-one relationship with viewers. PÉLISSON: It was one of the most significant decisions we made in the last four or five years. We moved toward establishing a direct relationship with viewers—when we were coming from a culture where we were talking to millions of people and that was all that mattered. We have invested heavily in our platform, MYTF1. It’s number one in France. The consumer experiences are now very similar to Netflix or Amazon. It gives us high credibility and the belief that in the French-speaking market— because we will never have the power, size or scale of the hyper-scalers—we can be credible competitors. We are also now looking at having premieres on Salto, in which we participate with France Télévisions and M6. We put HPI on Salto for 30 days as a premiere. Then there was the linear broadcast, then the replay and eventually, it will go to another platform. This is how we think of what I call the lifetime value of our content, which is a new way of looking at programming from end to end.

WS: How would TF1 and M6 benefit from the proposed merger? PÉLISSON: When you start thinking about the evolution of the market, we are competing with the global streamers every day, not only in drama and movies but also for sports rights. These players are very significant, and they also happen to be present in French consumers’ homes. So, the merger makes more sense than ever, and this is why both shareholders, Bouygues and Bertelsmann, have embarked on saying we should join forces and try to build a stronger group. We will never compete with Netflix, Google or Amazon on a worldwide level. However, on a Frenchspeaking territory level, we can be a solid contender. The French audience knows us. They have given us a lot of success and credibility over the last years, and we can capitalize on that. But we need a stronger base for acquisitions, tech investment and a large base for data. By uniting our forces, we believe we can achieve that. And if you look at the future company as a streaming player, having this larger, stronger base will be an asset.

Kevin Beggs

Chair Lionsgate Television Group

WS: What have been the biggest changes for Lionsgate Television as the ecosystem has expanded? BEGGS: In a 500-series universe, you have to break out with some noise and heat to get people talking to one another about what they’re watching. And high-end serialized shows lend themselves to that. When we started on this journey, those types of shows were on the outside, and luckily for us, we had a wide-open field because they weren’t that interesting economically to a lot of other players. We continue to find and partner with new and emerging players all the time. [The acquisition of] STARZ gave us a platform partner to whom we could bring our 17,000-title library and the production capability of our motion picture and television studios. Together with Jeffrey Hirsch, STARZ’s president and CEO, we have a complete, virtuous circle for the right shows and right films. We are servicing 20 or 25 other buyers at any given time on shows that aren’t right for STARZ. That’s why we have a nice balance between the two. That’s quite different from when we were just a developer-producer-distributor without a platform.

WS: What is the approach to working with talent? BEGGS: We decided to bet on talent. Not only was the 3 Arts Entertainment investment an affirmation of that strategy given their amazing client list and what they do so well, but on individual writing-producer or non-writing-producer deals in which they are generating a lot of IP, concepts and ideas. We can help facilitate getting those into top shape and to market using our expertise and creative skills, but not necessarily relying on our own in-house staff to generate and create every idea.

As we think about the bar being raised, it’s not about volume from any one producer in this auteur-driven space. It’s more about making a huge impact with one show; maybe that builds to two and in a perfect world three. You have to curate because you’re only going to have so many shots. Yes, there are many more platforms, but they are under siege from everyone pitching them everything. Yours has to stand out to even get to a place that they want to take a pitch.

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Johannes Larcher

Head HBO Max International

WS: Have there been advantages for HBO Max being a newer player on the SVOD streaming landscape? LARCHER: I’ll talk about my experience launching Hulu in Japan 11 years ago. The challenge there was establishing not only Hulu as a brand and a service but the entire category. No one understood what SVOD meant, what streaming was. Now, all of this is clear. Another advantage is that growth marketing and the science of it has come a long way since I was at Hulu. We are so much more sophisticated today in how we attract subscribers, engage them and retain them. Many tools and models are available today that didn’t exist back then. The talent pool has gotten much richer. We are also massive believers here at Max in the importance of constantly testing and iterating. We have seen other players make several mistakes when they were expanding internationally. We have the luxury of not having to repeat that.

WS: As you look ahead at the next 12 to 18 months, what are your priorities for HBO Max? LARCHER: I have four things at the top of my radar. First of all, continuing to expand our global footprint by launching in more countries. Inside our launched countries, there’s a lot to do. We have to increase our marketing sophistication. We need to continue to experiment and invest in local content and find a way for that content to reliably connect with large audiences. We need to continue to improve our product and technology. We have a very credible service, but we have opportunities to make it more intuitive, more enjoyable, more relevant for our customers. And then maintaining and growing our team.

From an aspiration standpoint, the priority is on firmly becoming one of the top three must-have streaming services in every country we’re in. We have achieved that in Latin America. We have achieved it in the Nordics and Spain. We need to make sure that HBO Max is top of mind when consumers think, I want to watch a great movie or a great show. And we look forward to being in a position to combine our efforts with Discovery and fully leverage our respective capabilities and strengths.

Cathy Payne

CEO Banijay Rights

WS: What impact is the battle among global streamers having on the international production and distribution business? PAYNE: Firstly, studio-backed streamers continue to hold their product for their own direct-to-consumer services while reclaiming certain library content as it comes out of license off other platforms. This has reduced the amount of content available to other services and traditional linear clients, which means they need to look elsewhere. You’ve seen the expansion of Netflix and Amazon studio bases as examples of countering this. But at the same time, linear broadcasters are still performing extremely strongly. Traditional broadcasters are competing by expanding what were originally their catch-up services into unique VOD offerings in their own right—often comprising a heavily domestic flavor. This allows broadcasters’ commissioning budgets to focus across linear and VOD, and, going forward, you will see an increasing number of content partnerships aligning with linear broadcasters to fund their original shows. Finally, there’s the area of regulation and audience preference to consider. Local viewers like to see local stories, as well as international ones. We are seeing increased regulation in relation to streaming services around local market spend. International streaming companies know they need to cater to those local audiences for both reasons, and this is evident through their increased domestic market commissioning. When you combine all of these waves, it really is quite an exciting time. It’s competitive for the best talent, best stories, best IP; and you have to be in a position to be able to offer that.

WS: What opportunities do you see in this market? PAYNE: We are very fortunate to be part of the Banijay group, as this provides Banijay Rights with a product pipeline from our companies. It always helps that our production companies are supported by strong central services such as Creative Networks, Banijay’s ideas powerhouse led by Lucas Green and James Townley. The ability to internally share so many production learnings is invaluable. Having scale also means we are able to make investment decisions fast and early. It also boosts the group’s ability to provide resources that support producers in longer-term development or acquiring specific IP. As a result, this certainly provides more options to our production companies.

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Fred Burcksen

President & CEO ZDF Studios

WS: Tell us about the decision to change the name of the company from ZDF Enterprises to ZDF Studios. Is there a message you want to give the market with this change? BURCKSEN: It was important for us and for our shareholder, ZDF, because it expresses more precisely and more accurately what we are. On the one hand, we are a large licensing company selling, co-producing and buying rights. On the other hand, we are a big production group, a group that we have built especially over the last ten years. We are a studio that covers all the elements of the creative process, from early development to the long-tail sales and everything in between. We want to be recognized as a studio. We want to invite everybody who has good ideas to talk to us, talk to our production companies and talk to our genre departments about investments, sales and distribution.

WS: What has been the strategy in investing in companies? BURCKSEN: It’s a joint strategy by our shareholder, ZDF, and us, with the goal of creating greater independence from other groups. Vertical integration is all around us. Existing groups are getting bigger and stronger. In the meantime, we have created our own group to be independent. That’s the strategy—independence and being a studio that covers all the elements of the creative process.

WS: How do you view the international production and distribution business, especially with the streaming services that are so aggressive in trying to get rights and talent? BURCKSEN: The market is overheated, especially when trying to find the right talent for projects; that’s definitely the challenge for production companies. Digitalization and new platforms disrupted everything that we knew was sure. That’s good. We’ve always liked changes. We have tried to embrace them and see the opportunities they offer us. [First among them] is that now in production, basically everything is possible. There is much more respect for original stories than there used to be. There is no definition of the perfect format. [The new platforms] boosted creative possibilities. We’re very grateful for that.

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Louise Pedersen

CEO All3Media International

WS: How do you view the international scripted TV market? PEDERSEN: We feel pretty positive about the market at the moment. Yes, there are shows that are getting commissioned by global SVODs or studio SVODs where we, as a distributor, don’t have rights, but that’s good business for our partner production companies. Outside of that, there are lots of potential SVOD homes for our shows on the coproduction side, both with regional SVOD partners and global SVOD partners who are prepared to do deals in specific territories. Then there are also long-standing and valued commercial or public-service free-to-air broadcasters, who are very keen to get access to good content because the studio SVODs are hanging on to some of their library product. The AVOD and FAST channel market is a growth area, particularly for our longer-running, established scripted series.

With the studio SVODs, there has been a huge demand for library content. If you have a decent library of shows, there are opportunities for co-productions, presales or library deals. AVOD, in particular, has been an opportunity for us to exploit shows in a different rights window and for a longer period of time. It feels like there are lots and lots of opportunities, which is really positive.

As for the challenges, new entrants to the market, like the AVOD or FAST licensees, require a different set of rights. We have to make sure we are smart about the rights that we grant to maximize revenue for our content across as many windows as possible.

WS: Has the increased volume of scripted changed the way shows are developed or produced? PEDERSEN: Broadcasters are still funding a lot, of course, but there is development going on outside the broadcasters, particularly in the U.K. That’s all about distributors and financiers coming in early to get shows they think will travel. It’s about securing your position early in the process. In terms of production, there is still a very strong model in the U.K., the PSB model, where broadcasters come in with a significant percentage of financing, a distributor comes in and probably matches it, and you’ve got a tax credit as well. That’s a model we like, but, increasingly, we are financing shows by bringing in one or two co-commissioning partners.

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Tim Gerhartz

President & Managing Director Red Arrow Studios International

WS: What are the benefits of working for a company that includes numerous diverse production companies? GERHARTZ: It’s harder to retain rights when collaborating with streamers and majors. The platforms try to retain rights and get full exclusivity on a show, which makes it difficult for distributors and producers to benefit from that show further down the line. The answer has been, and is increasingly, getting involved at a very early stage, investing in development, making sure you are in the game as early as possible. Making sure you are a good partner for everybody in the ecosystem, including the client, the streamer, the platform and the producer. Being part of a group helps because you get access early, information early and can start sorting out the path [to market]. Yes, it helps, but I should stress that it’s also part of our ambition and tradition to show the same collaboration and aspirations when we work with third-party producers. Even throughout the pandemic, we increased our investment in shows from both the Red Arrow Studios group and third-party productions.

WS: Would you give some examples of the type of support and expertise you provide producers in financing and distributing their shows? GERHARTZ: We see ourselves as enablers rather than just investors. We try to have our eyes and ears everywhere. Ideally, we know where doors are open and where budgets are available. We know what’s hot and what’s not. Business intelligence is what we bring to the table.

WS: Do you see demand for content continuing to be high this year and next? GERHARTZ: Yes, because of all the platforms and the new genres, tones and styles of shows that have emerged. People have experienced so many great, diverse ideas within the last two years that demand will continue to be high. Of course, the pandemic has been a challenge. The effect of Covid that we still see now is that it squeezes the margins because you have higher production costs. And the margins are shifting from one side to the other in the ecosystem. There is a big change in the industry, but all in all, I think you see healthy conditions and growth. The best you can do is be very invested in various steps of the value chain.

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Cécile Frot-Coutaz

CEO Sky Studios

WS: What appealed to you about heading up Sky Studios after your time at YouTube? FROT-COUTAZ: If you look more broadly at what’s happening in the content ecosystem, on the one hand, you’ve got where YouTube and TikTok live, which is increasingly user-becomescreator, short-form, snackable, immediate. And on the other end, the shows are becoming bigger in terms of their scale and storytelling. It was the pull of going back to that part of the business. It was also about Sky. YouTube and Google are U.S. companies. All the studios are U.S.-based, and the idea of creating a real content hothouse in Europe is appealing. Sky is both a platform and a content company. That combination is unique.

WS: Tell us about Sky Studios’ mission. FROT-COUTAZ: The battleground today is for consumers’ time. People have a lot of options on how to spend their time, and they also have a lot of options on how to spend their money on entertainment. Ultimately, that is the battleground. Within that battleground, Sky is also an aggregator of content. When you buy a subscription, you get your sports offering, Netflix, many apps, etc. But increasingly, Sky recognizes the need to have its own original content brand that is exclusive and part of that offering. That’s important when the customer considers whether or not to get a NOW or Sky subscription. The studio’s mission is to help Sky in that battle for the consumer and deliver originals that are worth paying for. I can do that across our three core markets—the U.K., Germany and Italy, plus SkyShowtime, which will launch this summer and add another 20 markets. That is an exciting opportunity for the group overall to extend its footprint from its current 23 million customers across the three markets to a whole new set of customers in 20 more markets. That’s the way to think about the challenge. Some of the questions we will be answering over the next few years are: What is the right content offering? How do you curate the right amount of content? The overall thing to take away is, yes, there is an increase in commitment from Sky to these originals because they will increasingly be of strategic importance.

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Tim Mutimer

CEO Cineflix Rights

WS: Cineflix Rights offers such a broad range of scripted series from many different countries. Why have you cast the net so wide? MUTIMER: Lots of reasons. One of them is that we are truly independent. Whereas some distributors can be somewhat forced to work with affiliated production companies in whatever territory they’ve got them, we can scour the world for interesting stories we think resonate. We can work with everyone. Experience has taken us to territories such as Israel, France and the Nordics, where there are creatives coming up with globally appealing shows that stand out.

At the moment, we are finding that there is less demand for long-running, 22-episode U.S. shows. There is a lot more interest in six- or eight-part serials that maybe have only a one-season arc. And we’re finding this content from our international partners in Europe and Israel. Additionally, non-English-language programs are becoming much more popular in a lot of territories.

WS: How do you view the international production and distribution business, particularly given the battle among the global streamers for subscribers and high-end programming? MUTIMER: It’s fantastic! There is so much demand for content, which is great news for producers and distributors. AVOD has added another dimension, providing a buoyant market with big audiences coming to find content, particularly factual content.

So, for us, at the moment, that increase in competition has been great. It means there is a real appetite, whether it’s for premium scripted, premium unscripted or returning shows, which form a staple of our catalog. Broadcasters want shows they know are going to work, will come back again and again and only have to [invest in marketing] once.

WS: Movies are sometimes the unsung heroes. They fulfill a need, but they’re not talked about very much. MUTIMER: It is true, and in addition to a strong platform, we’re looking for well-known talent that we can market. We know that holiday movies are always in demand, as are family movies and true crime. Cineflix has been across the crime space in factual for so long that it’s a natural area [for us] to be in [for movies because of] the relationships we have in that world.

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Clint Stinchcomb

President & CEO Curiosity

WS: Tell us about the recent rebrand and what that means for the broader company outside of your SVOD service. STINCHCOMB: The elevation of “Curiosity” is a recognition of the dynamic and diverse company we have grown to become over the past [seven] years. We are the global entertainment brand for people who want to know more, and our SVOD service, Curiosity Stream, is still the flagship and the foundation of our business. But we provide myriad ways for both viewers and partners to engage with our content—we’re producing more original content than ever—and the time is right to showcase our full suite of offerings.

WS: What are the core subscriber retention tools you use for Curiosity Stream? STINCHCOMB: Due to the nature of our service, we have an audience that in some cases wants immense breadth and in others wants to be able to dive deep into specific topics. Therefore, we need reflexive strategies that ensure we are serving up what an individual is looking for each time they open up our apps.

We initially serve a new user some of our best content across all of our genres and categories that we know performed well and see what resonates. From there, we can get an idea of what sort of content they are interested in and begin to build a reflexive experience. At a high level, all of this data informs our programming strategy to make sure we have a continuous flow of new content to the platform that we know will feed all these different tastes and appetites.

If we’re doing that correctly, we will see high retention from people who are most active on our apps. We also have to make sure that we reach people outside of our owned-and-operated [platforms]. We have a variety of ways we do that. Our CRM and engagement team uses off-platform content recommendations, retargeted ads and a variety of other mediums to make sure that people are not missing content we think they’re going to be interested in if they have not logged in recently. We are also building out a strong front-of-the-wall content strategy that will keep our audience engaged with us even as they consume content on other platforms beyond Curiosity Stream (like YouTube, FAST platforms and social media).

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